Stephanie Weber Biron is a director and cinematographer perhaps best known for her award-winning cinematography of Xavier Dolan’s feature films I Killed My Mother and Heartbeats (Best Cinematography award at the Hamptons Film Festival, nominated for Achievement in Cinematography at the Genie Awards, etc). Stephanie’s diverse body of cinematography credits include Ashley McKenzie's award winning films Stray & When You Sleep as well as the Warner Bros, Spike Jonze's produced short film Higglety Pigglety Pop! directed by academy award nominees Maciek Szczerbowski & Chris Lavis.. Stephanie has shot many feature films including Jason Buxton's award winning film Blackbird (winner at TIFF & VIFF) as well as Guy Maddin's unique film, The Forbidden Room, which opened the Berlin film festival and had it's north american premiere at Sundance before going on to win many awards.
Stephanie's work caught the eye of international filmmakers which has given her the opportunity to shoot films in Germany, London, Paris, New York and across Canada. Stephanie's short films and music videos as writer & director have widely toured international film festivals & her film Fragments won a jury prize at Prends ça Court, the Quebec Short Film Gala. Stephanie Weber Biron has been passionate about photography and cinema since a very early age. She lives in Montreal though she can often be found travelling the world shooting her latest projects.
Press excerpts :
Criterion October 6th 2016
(The Forbidden Room)
Where Maddin ostensibly builds this picture around the various catacombs of his psyche, Stephanie Weber Biron and Benjamin Kasulke are the biggest stars here, giving the film an energy rarely seen in modern cinema. In lesser hands, the film’s various digressions could come off as pretentious, both give the film a depth and scope that it so desperately needs. Obviously influenced by the same cinema as Maddin, Weber Biron and Kasulke offer up vignettes that range from the ornate to the obtuse, taking the same hazy hues and roughness found in early cinema and turning them up to the proverbial 11. It’s a visceral picture that owes a great deal to the two photographers. Weber Biron is particularly of note, as seeing her evolve from her early work on films like I Killed My Mother to this shows a cinematographer in the midst of evolution. There are definite touches of her previous work, particularly the brazen animated short Higglety Pigglety Pop! or There Must Be More to Life. It’s hard to think of a more aesthetically powerful motion picture from 2015 than the one given to us by this creative team.
The Film Stage December 29th 2015
The best cinematography of 2015
(The Forbidden Room)
...it’s ultimately to the credit of cinematographers Benjamin Kasulke and Stéphanie Weber Biron, as well as the large post-production team who helped translate HD footage into something that looks like it was dragged across pavement after decades of being poorly preserved. What they’ve done is nothing short of a masterstroke: turning potentially inaccessible material into something that’s endlessly viewable. No two of
The Forbidden Room’s images look precisely the same, and such is their imprint that you’ll remember many of them for a long time to come.
Screendaily 27 January 2015
The style and tone of The Forbidden Room will clearly feel like Maddin’s to anyone who knows his earlier films.
Much of that credit goes to cinematographers Stephanie Anne Weber Biron and Ben Kasulke ...for the look and feel of throbbing celluloid rustication throughout.
La Presse 19 février 2015
Les choix de Mathieu Grondin:
"Fragments" de Stéphanie Weber Biron (est) à mi-chemin entre le cinéma et l'art contemporain,
rappelant Miranda July par le ton, la réalisatrice se met elle-même en scène dans cet ovni
qu'il nous fait plaisir de recevoir en première mondiale.
New York Times Feb. 25 2011
Heartbeats "is a gush of gorgeous images"
L.A. Times March 4th 2011
"…with cinematographer
Stephanie Weber Biron, they've made "Heartbeats" into a stylish affair on nearly no budget."
Dial M for Movies
Heartbeats "is shot so beautifully by
Stephanie Weber Biron, rich colours harking back
to 50's fashion, along with slight out of focus slow motion scenes. "
The Daily Aztec March 2011
"Cinematographer
Stephanie Weber Biron sets an ethereal-like environment for the characters to frolic, quite commonly in slow motion. Close-ups of Marie’s delicate skin and cutaways of Frankie’s ever-changing wardrobe keep viewers’ eyes wide open, not in the creepy way “Minority Report” did, but in the loving and adoring way similar to viewing “Amélie.”
VOIR 3 juin 2010
"…Niels, Sasha dans Tout est parfait d'Yves Christian Fournier, dont les boucles dorées et les yeux marron en feront soupirer plus d'un et d'une tant la caméra de
Stéphanie Weber Biron a su les mettre en valeur."
Variety May 18, 2009
(about J’ai tué ma mère (I Killed My Mother) regarding the cinematography)
"Lensing using the RED-One digital cinema camera, with a transfer to 35mm, stays cool and unpretentious, with black-and-white confessional inserts that give Hubert a more direct, personal mode of confession."
L’avenue du Mont-Royal/ Chronique cinéma
"Dolan témoigne d’une adresse impressionnante alors qu’il nous révèle les univers difficilement réconciliables des deux protagonistes, non seulement par un scénario qui dénote une maturité au-delà du jeune âge de l’auteur, mais en soulignant la disparité de la mère et du fils à l’aide d’une direction artistique réussie signée Anette Belley et de la photographie de
Stéphanie Weber-Biron."
